It has become common to build an opposition between prudish Victorian England and permissive nineteenth-century France. The lack of a full-length study of nineteenth-century Anglo-French literary ...
More

It has become common to build an opposition between prudish Victorian England and permissive nineteenth-century France. The lack of a full-length study of nineteenth-century Anglo-French literary relations means that both English reserve and French license have been greatly exaggerated, as French writers frequently met with far greater support in England than at home. French Novels and the Victorians aims to shed new light on these relations by exploring the enormous impact of French fiction on the Victorian reading public. The work considers the many different ties built between the two countries in the publishing industry, identifying how French novels could be accessed and by whom, as well as who promoted and who resisted the importation of Continental works in England and why. The book reflects on what ‘immorality’ meant to both critics and the readers they sought to warn, and how the notion was subjected to scrutiny through censorship debates as well as the fictional representations of readers. It also tackles the contemporary preoccupation with literary influence, and explores how the extensive circulation of French fiction in England affected the concept of a ‘national’ literature. Rather than a study of the (considerable) influence of novelists such as Balzac, Hugo, Dumas, or Sand on individual works of English literature, this book uncovers the networks and mediums that enabled French novels to cross the Channel, and looks at how the concept of the ‘French novel’ was elaborated, interpreted, and challenged.Less

French Novels and the Victorians

Juliette Atkinson

Published in print: 2017-07-27

It has become common to build an opposition between prudish Victorian England and permissive nineteenth-century France. The lack of a full-length study of nineteenth-century Anglo-French literary relations means that both English reserve and French license have been greatly exaggerated, as French writers frequently met with far greater support in England than at home. French Novels and the Victorians aims to shed new light on these relations by exploring the enormous impact of French fiction on the Victorian reading public. The work considers the many different ties built between the two countries in the publishing industry, identifying how French novels could be accessed and by whom, as well as who promoted and who resisted the importation of Continental works in England and why. The book reflects on what ‘immorality’ meant to both critics and the readers they sought to warn, and how the notion was subjected to scrutiny through censorship debates as well as the fictional representations of readers. It also tackles the contemporary preoccupation with literary influence, and explores how the extensive circulation of French fiction in England affected the concept of a ‘national’ literature. Rather than a study of the (considerable) influence of novelists such as Balzac, Hugo, Dumas, or Sand on individual works of English literature, this book uncovers the networks and mediums that enabled French novels to cross the Channel, and looks at how the concept of the ‘French novel’ was elaborated, interpreted, and challenged.

This volume brings together anthropologists, historians and literary scholars in order to explore how societies represented and used the past. Case studies range from the seventh century to the ...
More

This volume brings together anthropologists, historians and literary scholars in order to explore how societies represented and used the past. Case studies range from the seventh century to the twenty-first, and from Africa, America and Asia to Europe. All the means and media by which societies, groups and individuals engaged with the past and expressed their understanding of it are addressed, and contributions treat not only professional historians, but also clerics, poets, novelists, administrators, political activists, and journalists as well as the consumers of their works. The utility of the past proved almost as infinitely variable as the modes of its representation. It might be a matter of learning lessons from experience, or about the legitimacy of a cause or regime, or the reputation of an individual. Rival versions and interpretations reflected, but also helped to create and sustain divergent communities and world views. With so much at stake, manipulations, distortions and myths proliferated. But given also that evidence of past societies was fragmentary, fragile and fraught with difficulties for those who sought to make sense of it, imaginative leaps and creativity necessarily came into the equation. Paradoxically, the very idea that the past was indeed useful was generally bound up with an image of history as inherently truthful. But then notions of truth proved malleable, even within one society, culture or period. Concerned with what engagements with the past can reveal about the wider intellectual and cultural frameworks within which they took place, the book is of relevance to anyone interested in how societies, communities and individuals acted on their historical consciousness.Less

How the Past was Used : Historical cultures, c. 750-2000

Published in print: 2017-08-24

This volume brings together anthropologists, historians and literary scholars in order to explore how societies represented and used the past. Case studies range from the seventh century to the twenty-first, and from Africa, America and Asia to Europe. All the means and media by which societies, groups and individuals engaged with the past and expressed their understanding of it are addressed, and contributions treat not only professional historians, but also clerics, poets, novelists, administrators, political activists, and journalists as well as the consumers of their works. The utility of the past proved almost as infinitely variable as the modes of its representation. It might be a matter of learning lessons from experience, or about the legitimacy of a cause or regime, or the reputation of an individual. Rival versions and interpretations reflected, but also helped to create and sustain divergent communities and world views. With so much at stake, manipulations, distortions and myths proliferated. But given also that evidence of past societies was fragmentary, fragile and fraught with difficulties for those who sought to make sense of it, imaginative leaps and creativity necessarily came into the equation. Paradoxically, the very idea that the past was indeed useful was generally bound up with an image of history as inherently truthful. But then notions of truth proved malleable, even within one society, culture or period. Concerned with what engagements with the past can reveal about the wider intellectual and cultural frameworks within which they took place, the book is of relevance to anyone interested in how societies, communities and individuals acted on their historical consciousness.

The Middle Ages continue to provide an important touchstone for the way the modern West presents itself and its relationship with the rest of the globe. This volume brings together leading scholars ...
More

The Middle Ages continue to provide an important touchstone for the way the modern West presents itself and its relationship with the rest of the globe. This volume brings together leading scholars of literature and history, together with musicians, novelists, librarians and museum curators in order to present exciting, up-to-date perspectives on how and why the Middle Ages continue to matter in the twentieth and twenty-first centuries. Presented here, their essays represent a unique dialogue between scholars and practitioners of ‘medievalism’. Framed by an introductory essay on the broad history of the continuing evolution of the idea of ‘The Middle Ages’ from the fourteenth century to the present day, chapters deal with subjects as diverse as: the use of Old Norse sagas by Republican deniers of climate change; the way figures like the Irish hero Cú Chulainn and St Patrick were used to give legitimacy to political affiliations during the Ulster ‘Troubles’; the use of the Middle Ages in films by Pasolini and Tarantino; the adoption of the ‘Green Man’ motif in popular culture; Lady Gaga’s manipulation of medieval iconography in her music videos; the translation of medieval poetry from manuscript to digital media; and the problem of writing national history free from the ‘toxic medievalism’ of the nineteenth and twentieth centuries.Less

The Middle Ages in the Modern World : Twenty-first century perspectives

Published in print: 2017-09-28

The Middle Ages continue to provide an important touchstone for the way the modern West presents itself and its relationship with the rest of the globe. This volume brings together leading scholars of literature and history, together with musicians, novelists, librarians and museum curators in order to present exciting, up-to-date perspectives on how and why the Middle Ages continue to matter in the twentieth and twenty-first centuries. Presented here, their essays represent a unique dialogue between scholars and practitioners of ‘medievalism’. Framed by an introductory essay on the broad history of the continuing evolution of the idea of ‘The Middle Ages’ from the fourteenth century to the present day, chapters deal with subjects as diverse as: the use of Old Norse sagas by Republican deniers of climate change; the way figures like the Irish hero Cú Chulainn and St Patrick were used to give legitimacy to political affiliations during the Ulster ‘Troubles’; the use of the Middle Ages in films by Pasolini and Tarantino; the adoption of the ‘Green Man’ motif in popular culture; Lady Gaga’s manipulation of medieval iconography in her music videos; the translation of medieval poetry from manuscript to digital media; and the problem of writing national history free from the ‘toxic medievalism’ of the nineteenth and twentieth centuries.

Patrick Zuk and Marina Frolova-Walker (eds)

This volume of essays provides an overview of the transformation that the study of Russian music since 1917 has undergone since glasnost’, both in Russia itself and outside it. Prior to this, ...
More

This volume of essays provides an overview of the transformation that the study of Russian music since 1917 has undergone since glasnost’, both in Russia itself and outside it. Prior to this, scholars on both sides of the Iron Curtain confronted formidable practical difficulties. In the USSR, the operation of strict censorship and ideological constraints seriously hindered the development of scholarship. In the West, ideological perspectives engendered by the Cold War hindered an objective appraisal of many aspects of Soviet cultural life. The changed climate of the post-Soviet period has obviated many of these difficulties, and acted as a powerful stimulus to the development and expansion of the discipline. The seventeen chapters are grouped under six thematic headings. Those in Part I explore the most conspicuous trends and changes in emphasis in recent scholarship, as well as assessing the extent to which pre-glasnost’ ideological perspectives continue to hinder progress. Part II focuses on reappraisals of Socialist Realism and other important topics pertaining to music and musical life of the Stalinist era. Part III examines the damaging effects of censorship on Soviet musicology, and Part IV on recent developments in Shostakovich studies, an area which has been the locus of particularly fierce controversies. Part V focuses on the Russian musical diaspora. The three essays in Part V are concerned with the ways in which the difficult transition to the post-Soviet era has affected Russian compositional activity.Less

Russian Music since 1917 : Reappraisal and Rediscovery

Published in print: 2017-09-28

This volume of essays provides an overview of the transformation that the study of Russian music since 1917 has undergone since glasnost’, both in Russia itself and outside it. Prior to this, scholars on both sides of the Iron Curtain confronted formidable practical difficulties. In the USSR, the operation of strict censorship and ideological constraints seriously hindered the development of scholarship. In the West, ideological perspectives engendered by the Cold War hindered an objective appraisal of many aspects of Soviet cultural life. The changed climate of the post-Soviet period has obviated many of these difficulties, and acted as a powerful stimulus to the development and expansion of the discipline. The seventeen chapters are grouped under six thematic headings. Those in Part I explore the most conspicuous trends and changes in emphasis in recent scholarship, as well as assessing the extent to which pre-glasnost’ ideological perspectives continue to hinder progress. Part II focuses on reappraisals of Socialist Realism and other important topics pertaining to music and musical life of the Stalinist era. Part III examines the damaging effects of censorship on Soviet musicology, and Part IV on recent developments in Shostakovich studies, an area which has been the locus of particularly fierce controversies. Part V focuses on the Russian musical diaspora. The three essays in Part V are concerned with the ways in which the difficult transition to the post-Soviet era has affected Russian compositional activity.